The Ganesh Shivaswamy Foundation
Ganesh V Shivaswamy
The oleographs from the Ravi Varma Press inspired and influenced many aspects of life. Religion, cinema, comic culture, commerce and later popular artists were all inspired by the imagery from the Ravi Varma Press specially chromolithographs from the paintings by Raja Ravi Varma. This exhibit explores the influence of the Ravi Varma chromolithographs on advertising and the later popular artists.
An Imprint on Time – Literally!
The images from the Ravi Varma Press were extensively used for advertising. The objective of the advertiser was essentially to refresh the memory of the brand in the mind of the customer. The printed calendar was most suited for this purpose as it ensured the image and the message of the advertiser would be viewed on a daily basis. Here is a calendar of the year 1927 marketing Vinolia soap with the image of the iconic Saraswati. After all, if Saraswati has spotless, fair complexion, what else could it be but Vinolia soap!
Lakshmi Vinolia soap calendar (1930) by Attributed to the Ravi Varma PressThe Ganesh Shivaswamy Foundation
Another example of a calendar issued in the year 1930 for the Vinolia Soap Company, with an image of the popular Lakshmi.
Vishnu Garuda Vahan C E Morton (1930) by Attributed to the Ravi Varma PressThe Ganesh Shivaswamy Foundation
Hindu mythology is replete with accounts of the triumph of good over evil in which Lord Vishnu assumed many forms (avatars) during his eternal existence to accomplish the victory. These legends are recounted in Hindu homes to instill ideals of morality and good behavior.
Sensing the moral appeal of this Hindu deity, the advertiser uses Lord Vishnu to proclaim the benefits of Strawberry and Apricot Jam - for, if it is good for Lord Vishnu, it must be good for all!
The Later Popular Artists
The immense demand for 'framing pictures' led to the establishment of many printing presses throughout India. Sivakasi, a town in South India was one of the important places where a number of these presses were established and functioned. The dry and hot climate was ideal for quick printing and, of course, the manufacture of fire-works. The printing presses in Sivakasi employed many artists like C Kondiah Raju, M Ramalingam, K Madhavan, etc. The works of these artists were not merely inspired by the oleographs from the Ravi Varma Press but also at times imitated them. This is an example of a painting by M Ramalingam which is an imitation of Ravi Varma's iconic Lakshmi.
Saraswati (1930/1970) by M RamalingamThe Ganesh Shivaswamy Foundation
This is a painting by M. Ramalingam who was a student of C. Kondiah Raju. He supplied 'designs' for the printing presses of Sivakasi.
The iconic chromolithograph from the Ravi Varma Press entitled 'Saraswati' serves as a visual inspiration for this painting.
The composition is identical with the Ravi Varma Press image.
One aspect to be noticed in the oleograph of 'Saraswati' from the Ravi Varma Press is the non-conformity with the textual description of divinities as stated in the scriptures. Ancient representations of divinities would generally depict the ancillary hands of a deity behind the body of the deity. Ravi Varma, through his paintings and the chromolithographs derived therefrom altered this form.
In the present case, Saraswati's ancillary hand which holds a 'Pustaka' or book is brought forward- as if offering the book to the viewer in a 'handshake' of sorts. This change to the representation is repeated in later visual imagery, as in this example by M. Ramalingam.
On occasion, the artistic modifications went too far. In the 'Saraswati' chromolithograph from the Ravi Varma Press, the vehicle of Saraswati is a peacock while the texts prescribe her vehicle to be a 'Hamsa' or swan.
M. Ramalingam notices the anomaly in the image from the Ravi Varma Press and incorporates a swan into his painting of Saraswati.
However, the images from the Ravi Varma Press were very influential and to remove the peacock from an image of Saraswati may discredit the later painting.
M. Ramalingam therefore incorporates a peacock also - better safe than sorry!
Here is the Ravi Varma oleograph of Ram Pattabhishek which translates to the Coronation of Ram.
Ram Pattabhishek (1930/1970) by C Kondiah RajuThe Ganesh Shivaswamy Foundation
The composition and placement of figures in this painting by C. Kondiah Raju is evidently inspired by the Ravi Varma Press chromolithograph of Ram Pattabhishek.
Rama vanquishes the Ocean (1930/1970) by V V SaparThe Ganesh Shivaswamy Foundation
The similarity in composition is evident in this example of a painting by V. V. Sapar. The placement of the figures is identical with the chromolithograph from the Ravi Varma Press.
It must be observed that the later artists tended to dramatize their paintings.
In this instance, the posture of Rama is more aggressive and he is depicted as a muscular man. Further, the sea is dramatized in this painting.
Travelling far beyond the Indian sub-continent
The influence of the imagery from the Ravi Varma Press traveled far beyond the Indian sub-continent to places like Austria, Japan, Sweden, etc. This is a page from an album of match-box labels printed in these countries, inspired by chromolithographs from the Ravi Varma Press.
Match box label album sheet 4 (Circa 1930) by Various PrintersThe Ganesh Shivaswamy Foundation
Match-box labels printed in Japan inspired by the chromolithographs of Vishwamitra-Menaka and Shankar from the Ravi Varma Press. Notice the change in the style of delineating the eyes which are now rendered in the mongoloid slant!
Match box label album sheet 3 (Circa 1930) by Various PrintersThe Ganesh Shivaswamy Foundation
This is another example of the chromolithograph Radha Bilas inspiring match-box labels printed in Japan.
Also notice the composition in the label titled 'Mehomedbhoy Jetha' which is a couple in European attire.
Both these couples strike a pose- that of Radha Bilas!
Match box label album sheet 1 (Circa 1930) by Various PrintersThe Ganesh Shivaswamy Foundation
The images from the Ravi Varma Press were initially considered revolutionary - altering the ancient perception of the divine. Over the years, these images were accepted and embraced by the people of the Indian sub-continent and beyond.
A match-box label of Krishna printed in Austria and Shiva's vehicle 'Nandi' printed in Burma may be seen in this sheet from an album of Match-box labels.
In the words of Alfred Lord Tennyson, The old order changeth, yielding place to new, And God fulfils himself in many ways...
This was certainly the effect of the chromolithographs from the Ravi Varma Press.
Images are from the Hemamalini and Ganesh Shivaswamy collection, Bengaluru.
All rights reserved: The Ganesh Shivaswamy Foundation, Bengaluru.
